In this post I would like to share briefly yet another pile of work in the field of ‘Arctic-based’ design research. My personal fascination with mobility of Arctic nomads, coupled with professional interest in experimentation in the field of design education have recently resulted into the project “Visualizing Arctic Mobility”, funded by Finnish Cultural Foundation and Ella & Georg Erhnrooth Foundation. The central part of this project was a field trip to remote indigenous settlements of Yamal as a form of outdoor artistic practice for art/design students from Finland and Russia. The aim was to deliver new exercises and learning materials as well as new forms of presenting research findings, i.e. in addition to verbal the findings will be further presented through film, drawings and paintings.
Our team consisted of six people: apart from me as a team leader, there were
– three BA students from the Department of Industrial Design, Ural State Academy of Architecture and Arts, Ekaterinburg, Russia: Tonya Belyaeva, Ilya Polyanskikh and Radmir Gelmutdinov;
– A graphic and textile artist/Illustrator and doctoral student from the Department of Design, Aalto University School of Arts, Design and Architecture, Helsinki, Finland, Marjukka Vuorisalo; and
– A former trainee of the University of Lapland, currently a videographer in Film Production Company Joulupukki TV Nuno Escudeiro.
Of course, such amount of participants is rather big for an expedition with the ethnographic focus. I must admit we were not mobile and flexible at all: it was pretty difficult to engage with the community and, consequently, to immerse deeply into their daily life. On the other hand, however, it was fruitful in terms of variety of ‘thinking hands’, i.e. drawing skills and techniques as well as artistic visions.
All the drawing exercises are divided into three main groups:
– ‘surface drawings’, i.e. those to present visible reality (an artist/photographer’s observation);
– ‘analytic/surgery drawings’, i.e. those to reflect upon skills and technologies involved (design/engineering analysis); and
– ‘unveiling drawings’, i.e. those to reveal the immaterial ‘soul’ of things (artistic imagination)
During the expedition per se, the focus was on making observational drawings: from paintings of surrounding landscapes (though of minor importance), and, of most importance, portraits of people and their belongings. It was critical to draw not ‘an average Nenets sledge’, but the narta of a particular craftsman made at a certain place with certain conditions.
Our personal approach (let’s call it ‘the way of visually connecting a product with its maker/owner’) brings the artistic (emotional) vision into the ‘dry’ process of data gathering. In other words, ‘living’ hand drawings will help us further to understand how indigenous craftsmen produce ‘living’ things, in their multiple essences – from physical to spiritual.
The work is now moving to the next stage, i.e. to analytical drawings. The first public exhibition is expected to be in December, at Aalto University, Helsinki. I will keep you posted about the progress, and meanwhile, would love to hear any questions, comments and suggestions.
P.S. Many thanks to Lidia Kelchina, the Department of Indigenous Small Peoples of the North, YaNAO, and to Yury Novopoltsev, ‘Yamal Tour’, for the organizational support and invaluable help during our adventurous trip.